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{PDF EPUB} Rejected Addresses: and Other Poems by James Smith
Read Ebook {PDF EPUB} Rejected addresses: and other poems by James Smith Jun 25, 2010 · Rejected addresses, and other poems Paperback – June 25, 2010 by Epes Sargent (Author), Horace Smith (Author), James Smith (Author) › Visit Amazon's James Smith Page. Find all the books, read about the author, and more. See search results for this author. Are you an author?Author: Epes Sargent, Horace Smith, James SmithFormat: PaperbackRejected Addresses, and other poems. ... With portraits ...https://www.amazon.com/Rejected-Addresses...Rejected Addresses, and other poems. ... With portraits and a biographical sketch. Edited by E. Sargent. [Smith, James, Sargent, Epes, Smith, Horatio] on Amazon.com. *FREE* shipping on qualifying offers. Rejected Addresses, and other poems. ... With portraits and a biographical sketch. Edited by E. Sargent. Jun 22, 2008 · Rejected Addresses: And Other Poems by James Smith, Horace Smith. Publication date 1871 Publisher G. P. Putnam & sons Collection americana Digitizing sponsor Google Book from the collections of University of Michigan Language English.Pages: 441Rejected Addresses, and other poems. ... With portraits ...https://books.apple.com/us/book/rejected-addresses...The POETRY & DRAMA collection includes books from the British Library digitised by Microsoft. The books reflect the complex and changing role of literature in society, ranging from Bardic poetry to Victorian verse. Containing many classic works from important dramatists and poets, this collectio… Rejected addresses, and other poems Item Preview remove-circle Share or Embed This Item. EMBED. EMBED (for wordpress.com hosted blogs and archive.org item <description> tags) Want more? Advanced embedding details, examples, and help! ...Pages: 460Rejected addresses, and other poems. -
Horace Smith - Poems
Classic Poetry Series Horace Smith - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Horace Smith(31 December 1779 - 12 July 1849) Horace (born Horatio) Smith was an English poet and novelist, perhaps best known for his participation in a sonnet-writing competition with <a href="http://www.poemhunter.com/percy-bysshe-shelley/">Percy Bysshe Shelley</a>. It was of him that Shelley said: "Is it not odd that the only truly generous person I ever knew who had money enough to be generous with should be a stockbroker? He writes poetry and pastoral dramas and yet knows how to make money, and does make it, and is still generous." <b>Biography</b> Smith was born in London, the son of a London solicitor, and the fifth of eight children. He was educated at Chigwell School with his elder brother James Smith, also a writer. Horace first came to public attention in 1812 when he and his brother James (four years older than he) produced a popular literary parody connected to the rebuilding of the Drury Lane Theatre, after a fire in which it had been burnt down. The managers offered a prize of £50 for an address to be recited at the Theatre's reopening in October. The Smith brothers hit on the idea of pretending that the most popular poets of the day had entered the competition and writing a book of addresses rejected from the competition in parody of their various styles. James wrote the parodies of Wordsworth, Southey, Coleridge and Crabbe, and Horace took on Byron, Moore, Scott and Bowles. -
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Premature and Dissolving Endings in Shelley's Poetry Author[S]: Julia Tejblum Source: Moveabletype, Vol
Article: The Fisher, The Spear, and the Fortunate Fish: Premature and Dissolving Endings in Shelley's Poetry Author[s]: Julia Tejblum Source: MoveableType, Vol. 7, ‘Intersections’ (2014) DOI: 10.14324/111.1755-4527.059 MoveableType is a Graduate, Peer-Reviewed Journal based in the Department of English at UCL. © 2014 Julia Tejblum. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (CC-BY) 4.0https://creativecommons.org/licenses/by/4.0/, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. The Fisher, the Spear, and the Fortunate Fish: Premature and Dissolving Endings in Shelley’s Poetry Walter Benjamin famously o served that our interest in narrative is bound up not only with our in" terest in life, but, more tellingly, with our interest in death: we hope to learn something of the meaning of our o!n lives from the lives of fctional chara$ters, but mu$h of that meaning is revealed to us only through our witnessing the chara$ter’s death% The revelation of meaning through death, which Ben" jamin likens to cat$hing the heat of a fame, is impossi le without fction, sin$e none of us survives our o!n death and, therefore, none can ta&e part in the revelation unless it is at the e(pense of another: )What dra!s the reader to the novel is the hope of warming his shivering life with a death he reads a out%*+ But Benjamin’s o servations go beyond the sphere of the novel; a curiosity a out any narrative ending is a curiosity -
Towards a Poetics of Becoming: Samuel Taylor Coleridge's and John Keats's Aesthetics Between Idealism and Deconstruction
Towards a Poetics of Becoming: Samuel Taylor Coleridge’s and John Keats’s Aesthetics Between Idealism and Deconstruction Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät IV (Sprach- und Literaturwissenschaften) der Universität Regensburg eingereicht von Charles NGIEWIH TEKE Alfons-Auer-Str. 4 93053 Regensburg Februar 2004 Erstgutachter: Prof. Dr. Rainer EMIG Zweitgutachter: Prof. Dr. Dieter A. BERGER 1 TABLE OF CONTENTS PAGE DEDICATION .............................................................................................................. I ACKNOWLEDGMENTS ........................................................................................... II ABSTRACT ............................................................................................................... VI English........................................................................................................................ VI German...................................................................................................................... VII French...................................................................................................................... VIII INTRODUCTION Aims of the Study......................................................................................................... 1 On the Relationship Between S. T. Coleridge and J. Keats.......................................... 5 Certain Critical Terms................................................................................................ -
Systemic Thought and Subjectivity in Percy Bysshe Shelley's Poetry
Systemic Thought and Subjectivity in Percy Bysshe Shelley‟s Poetry Sabrina Palan Systemic Thought and Subjectivity in Percy Bysshe Shelley’s Poetry Diplomarbeit zur Erlangung eines akademischen Grades einer Magistra der Philosophie an der Karl- Franzens Universität Graz vorgelegt von Sabrina PALAN am Institut für Anglistik Begutachter: Ao.Univ.-Prof. Mag. Dr.phil. Martin Löschnigg Graz, 2017 1 Systemic Thought and Subjectivity in Percy Bysshe Shelley‟s Poetry Sabrina Palan Eidesstattliche Erklärung Ich erkläre an Eides statt, dass ich die vorliegende Arbeit selbstständig und ohne fremde Hilfe verfasst, andere als die angegebenen Quellen nicht benutzt und die den benutzen Quellen wörtlich oder inhaltlich entnommenen Stellen als solche kenntlich gemacht habe. Überdies erkläre ich, dass dieses Diplomarbeitsthema bisher weder im In- noch im Ausland in irgendeiner Form als Prüfungsarbeit vorgelegt wurde und dass die Diplomarbeit mit der vom Begutachter beurteilten Arbeit übereinstimmt. Sabrina Palan Graz, am 27.02.2017 2 Systemic Thought and Subjectivity in Percy Bysshe Shelley‟s Poetry Sabrina Palan Table of Contents 1. Introduction ............................................................................................................................ 5 2. Romanticism – A Shift in Sensibilities .................................................................................. 8 2.1 Etymology of the Term “Romantic” ............................................................................. 9 2.2 A Portrait of a Cultural Period ..................................................................................... -
Reviews 213 Especially Unfortunate for a Collection on Textuality, The
Especially unfortunate for a collection on textuality, the essays are marred by typographical errors (“David Scan Kastan”, “feministm”, “Sommer- ville College”, “modem” for “modern”, “arid” for “and”). ;WUMWN \PMÅZ[\[M\WN ¹[MUQVITºM[[Ia[[PW_\PMQZIOMJ]\QV[WUM ways this is one of the pleasures in reading the volume. McGann’s essay from 1985 asks, “What is the relevance of textual and bibliographical stud- ies to literary intepretation?” and asserts “This is not a question that has been posed in a systematic way very often”. These statements would be unthinkable in the recent essays in the collection, a change due in a large part to McGann’s own work over the last two decades. He suggests that, faced by the same textual feature, literary historians and editors ask differ- ent questions. The former ask “what does this mean?” while the latter ask “is this right or wrong?” McGann’s essay is not about early modern texts, TM\ITWVMJa_WUMVJ]\Q\Q[QV\MZM[\QVO\WZMÆMK\WV\PM_Ia[QV_PQKPMLQ- tors of early modern women have almost always been literary historians ÅZ[\LZI_V\WMLQ\QVOQVWZLMZ\WUISMQVIKKM[[QJTM\M`\[I^IQTIJTMWomen Editing/Editing Women is both an essential primer for any would-be editor of early modern women and a stimulating statement of enduring ques- \QWV[IVLKPITTMVOM[QV\PMÅMTL1\[]OOM[\[IÅMTL_PQKPPI[LM^MTWXML rapidly over some forty years, and provides an exciting picture of both the many questions which have been answered, and those which remain for editors in this vibrant area. Elizabeth Scott-Baumann Stephen Hebron. John Keats: A Poet and His Manuscripts. London: The Brit- ish Library, 2009. -
From Poet to Poet Or Shelley's Inconsistencies in Keats's Panegyric
From Poet to Poet or Shelley’s Inconsistencies in Keats’s Panegyric: Adonais as an Autobiographical Work of Art by Caroline Bertonèche (Paris 3) Adonais, in short, is such an elegy as poet might be expected to write upon poet. The author has had before him his recollections of Lycidas, of Moschus and Bion, and of the doctrines of Plato; and in the stanza of the most poetical of poets, Spenser, has brought his own genius, in all its ethereal beauty, to lead a pomp of Loves, Graces, and Intelligences, in honour of the departed. (Leigh Hunt, “Unsigned Review of Adonais”, The Examiner, 7 juillet 1822)1 I have engaged these last days in composing a poem on the death of John Keats, which will shortly be finished; and I anticipate the pleasure of reading it to you, as some of the very few persons who will be interested in it and understand it. It is a highly wrought piece of art, perhaps better in point of composition than anything I have written. (Lettre de Shelley à John et Maria Gisborne, 5 juin 1821, Complete Works, X 270) When Shelley said of Adonais, not long after its completion, that it was its most accomplished piece of art, “better in point of composition than anything [he] ha[d] written” while mentioning, in his Preface, the “feeble tribute of applause” (Shelley’s Poetry and Prose 392) it nonetheless represents, he does not to seem to want to hide his own sense of personal satisfaction, nor does he fail to confess certain obvious limitations in his work as a Romantic elegist. -
The Power of the Imagination~ Fall 2012 Division of Humanities—English University of Maine at Farmington
English 345 ~ English Romanticism: The Power of the Imagination~ Fall 2012 Division of Humanities—English University of Maine at Farmington Instructor: Dr. Misty Krueger Office: 216A Roberts Learning Center Office Hours: Tuesdays and Thursdays from 10 a.m.-11 a.m. and 2:30 p.m.-3:30 p.m. Office Phone: 207-778-7473 E-mail: [email protected] (preferred method of contact) COURSE DESCRIPTION Welcome to this course, which will cover the English Romantic period (1785-1832). Notable writers from this period include Mary Wollstonecraft, Jane Austen, William Blake, William Wordsworth, Samuel Taylor Coleridge, Lord Byron, the Shelleys, and John Keats, among many others. In this course we will explore how their works react to important contemporary political events, reconstruct a gothic past, draw on the supernatural, and incorporate spontaneity and imagination. Our specific goal in this course is to study how the ‘powers of the imagination’ lead some of the most well-known Romantic authors to craft brilliant and inventive essays, fiction, poetry, and dramatic literature. As such, we will spend our time examining these authors’ inspirations for writing, means of composition, and conceptions of the purpose of literature, as well as its effects on the individual and society-at-large. We are about to study some of the most beautiful literature ever written in the English language. Get ready to be inspired! Get ready to become an enthusiastic, active participant in this course by contributing discussion questions about our readings, completing reading responses, giving a formal class presentation on scholarly criticism, and conversing informally with your classmates about our course materials. -
National Trauma and Romantic Illusions in Percy Shelley's the Cenci
humanities Article National Trauma and Romantic Illusions in Percy Shelley’s The Cenci Lisa Kasmer Department of English, Clark University, Worcester, MA 01610, USA; [email protected] Received: 18 March 2019; Accepted: 8 May 2019; Published: 14 May 2019 Abstract: Percy Shelley responded to the 1819 Peterloo Massacre by declaring the government’s response “a bloody murderous oppression.” As Shelley’s language suggests, this was a seminal event in the socially conscious life of the poet. Thereafter, Shelley devoted much of his writing to delineating the sociopolitical milieu of 1819 in political and confrontational works, including The Cenci, a verse drama that I argue portrays the coercive violence implicit in nationalism, or, as I term it, national trauma. In displaying the historical Roman Cenci family in starkly vituperous manner, that is, Shelley reveals his drive to speak to the historical moment, as he creates parallels between the tyranny that the Roman pater familias exhibits toward his family and the repression occurring during the time of emergent nationhood in Hanoverian England, which numerous scholars have addressed. While scholars have noted discrete acts of trauma in The Cenci and other Romantic works, there has been little sustained criticism from the theoretical point of view of trauma theory, which inhabits the intersections of history, cultural memory, and trauma, and which I explore as national trauma. Through The Cenci, Shelley implies that national trauma inheres within British nationhood in the multiple traumas of tyrannical rule, shored up by the nation’s cultural memory and history, instantiated in oppressive ancestral order and patrilineage. Viewing The Cenci from the perspective of national trauma, however, I conclude that Shelley’s revulsion at coercive governance and nationalism loses itself in the contemplation of the beautiful pathos of the effects of national trauma witnessed in Beatrice, as he instead turns to a more traditional national narrative. -
BYRON, SHELLEY and KEATS
THE ROMANTIC AGE THE SECOND GENERATION OF ROMANTIC POETS: BYRON, SHELLEY and KEATS - they all left England, visited Italy and died young - return to complex forms of versification and richer language - interest in the world of ancient Greece - more interest in Politics (especially Byron) - different view of Nature (less idealistic) George Gordon Byron 1. Life (1788 – 1824) • In 1809 he set out on a tour of Spain, Portugal, Malta, Albania, Greece and the Middle East. • After his return to England in 1812, he published the first ‘two cantos’ of Childe Harold’s Pilgrimage. • He became a literary and social celebrity, but then he left England in 1816, never to return. • He lived in Geneva, where he became a friend of the poet Percy Bysshe Shelley. • He moved to Venice, where he began his masterpiece, the mock-epic Don Juan. • In 1819 he moved to Milan where he became involved H. Meyer, Lord Byron, 1816, Victoria in the patriotic plots against Austrian rule. and Albert Museum, London • He committed himself to the Greek struggle of independence from Turkey. • His heart is buried in Greece, his body is interred in England. Performer - Culture & Literature George Gordon Byron 2. Main works • Childe Harold’s Pilgrimage (1812-1818). • The Giaour (1813), The Corsair, and Lara (1814): a series of verse narratives. • Manfred, a tragedy (1817). • Don Juan (1819-24). Jonny Lee Miller is Byron, in the BBC drama Byron. Performer - Culture & Literature George Gordon Byron 4. The Byronic hero • A moody, restless and mysterious romantic rebel. • Hides some sin or secret in his past. -
DAL GOLEM ALLA CREATURA DI MARY SHELLEY: FRANKENSTEIN TRA MITO, SCIENZA E LETTERATURA Angela Articoni*
DAL GOLEM ALLA CREATURA DI MARY SHELLEY: FRANKENSTEIN TRA MITO, SCIENZA E LETTERATURA Angela Articoni* Mi concepì. Presi forma come un neonato, non nel suo corpo, ma nel suo cuore, mi sviluppai nella sua immaginazione finché trovai il coraggio di uscire dalla pagina e di entrare nella vostra mente. Lita Jugde1 Abstract: The similarity between Mary Shelley’s Frankenstein and the Golem of Jewish folklore is no mere coincidence. The Golem’s introduction on early nineteenth century German literature – ironically at the hands of two avowed anti˗Semites, Jacob Grimm and Ludwig Achim von Arnim – may have enabled the novelist Mary Shelley to rediscover it. In addition, being aware of the avant˗garde scientific research that was being carried out at the time, Mary Shelley also took inspiration from her many readings to incorporate mythological and theological debates related to science. Keywords: Golem, Frankenstein, Mary Shelley, Scientific discoveries, Gothic literature, Childrenʼs literature. Frankenstein ovvero il Prometeo moderno Il nome Prometeo, in greco Promethéus, significa “colui che riflette prima”, saggezza e intelligenza sono, infatti, le sue doti principali. È un titano di seconda generazione – figlio di Giapeto e di Climene, figlia di Oceano – sempre dalla parte degli uomini, in contrasto con il dio supremo Zeus, del quale rappresenta in un certo senso l’antitesi. Secondo Esiodo – nella * Dottore di ricerca in Scienze dell’Educazione - Università di Foggia. 1 Lita Jugde, Mary e il mostro. Amore e ribellione. Come Mary Shelley creò Frankenstein, trad. it. R. Bernascone, Il Castoro, Milano 2018, p. 7. 69 Teogonia (700 a.C. ca.) – Prometeo creò l’uomo con creta rinvenuta a Panopea, in Beozia, plasmando figure nelle quali Atena inalava la vita2. -
Prometheus Unbound and the Gothic Novel 15
From the Sublime to the Numinous A Study of Gothic Qualities in the Poetry and Drama of Shelley's Italian Period A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in English in the University of Canterbury by Robert Percival University of Canterbury 2000 Contents Page Acknowledgements Abstract Introduction 1 I. Prometheus Unbound and the Gothic Novel 15 II. Prometheus Unbound and the Classical Gothic 29 III. Prometheus Unbound- Heroes and Villains 50 IV. The Cenci - An Absence of the Numinous 64 V. Leonardo's Medusa and the Limits of the Sublime 78 VI. The West Wind-Poet as Prophet and Enchanter 90 VII. Adonais - Flight from the City of Death 101 VIII. Adonais - The Hunter Hunted 112 IX. The Triumph ofLife - The Living Dead and the Car of Life 130 X. The Triumph ofLife - Rousseau, the Shape, and the "shape all light" 146 Conclusion 159 Bibliography - (Primary and Secondary Sources) 164 Acknowledgements I would like to thank my wife, Hannah, for her limitless patience, and for her unfailing practical and moral support, without which this thesis would never have been completed; and my supervisor, Dr Gordon Spence, for his continuing encouragement, his unobtrusive guidance, and the generous spirit in which he always shared his time and erudition. Abstract In this thesis I consider six poems which Shelley wrote in Italy, between 1818 and his death in 1822: Prometheus Unbound, The Cenci, "On the Medusa of Leonardo da Vinci in the Florentine Gallery", "Ode to the West Wind", Adonais, and The Triumph ofLife.